Just really like how you can make someone like Bouchard so likeable and make someone like Vivian so annoying I wish I can wrap MC’s hands around her neck and strangle her with Potence
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The moment, at the end of book two, when Sonoma releases the gas and you exit the bunker. A random character is trying to help a wounded human, in my case it was Dena.
I’m no expert in English, but my Dena was male, but in this particular scene he is described as female. Shouldn’t it be (he) there?
Dena sets the bone carefully while you hold the leg firmly in place. The soldier grinds her teeth, trying not to scream out in pain. “Maybe if we show her that we aren’t what she thought we were,” Dena says while she -??? works, “she won’t be trying to kill us in the future. And maybe she’ll tell a friend who will tell another friend. That’s all I can hope for.” She -??? pulls the bandage tight and addresses the soldier. “I think you’ll be okay. Wait for your reinforcements to arrive; don’t try to walk on this, okay?” The human nods, her brow damp with sweat. “Remember that we’re not all animals.”
The best thing to do when you discover a bug in a game is to email support@choiceofgames.com with a screenshot. It’s the only really reliable way of making sure your issue is passed along to the author.
I’m pretty sure the privileges associated with each trust level are basic to the Discourse software. And I understand your frustration, but coming into a community as a new member and immediately criticizing its rules as the work of “morons” really isn’t a great way to start.
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Uh-huh, right, thanks, sorry.
Thank you for the report! I looked the section up and you’re right–the wrong variable is being used for the pronoun there. Most times it would show up fine, which is probably why it hasn’t been caught until now, but it’s possible for this to happen.
I have fixed the code and will submit the patch to Jason soon.
Thanks again! Hope you enjoyed the game 
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I keep running away from which to go against in B2. My apparent other option is to not choose any and just run away. Let them run or die instead. Sonoma deserves it for being an idiot and Rivera is an idiot. Let em kill each other. Regardless how it goes, neither wins. They are both idiots. ‘Change them to wolves!’ “Uh, they won’t stop killing, you idiot Sonoma!”
Betraying either has been a continous nope. I am truly stopped at this point. I rather just let them go to town on each other instead.
Rivera is not on the front lines of the battle at the end of Werewolves 2, so she’s not in much danger unless you attack her directly. She never planned to allow Sonoma to have a chance at killing her–that’s why she brought all those soldiers and undercover wolves loyal to her to do all the attacking. She’s a general, after all.
Unless you directly intervene and help Sonoma, there will never be a direct confrontation between Rivera and Sonoma.
The options are more realistically this:
- Go after Rivera directly and try to end the attack by stopping or killing her.
- Go after Sonoma in the hopes that turning her over to Rivera’s forces will end the killing.
- Convince Maker that you’re going after Sonoma, but betray Maker to Sonoma once you get there, proving you’re loyal to Sonoma. This will, of course, escalate the killing.
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I know this post is quite old at this point but i’d never seen anyone complain about this before so I was happy to see i’m not alone LOL. Tbh my main focus in IF is the characters, i love character driven stories and this one’s reuse of dialogue and scenes for multiple characters really took me out of it, so much so that i just didn’t pick this new one up yet;; i’m just reading through the threads and reddit to see if i can talk myself into trying it out again now
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This series is massively character driven. Subbing in alternate characters when necessary is something 90+% of complex long-form interactive fiction does, as I’ve gone into great length about in the above posts discussing reasons and mechanics. Hopefully you read those replies.
There are several novels-worth of unique character dialog and scenes in this series. But if some scenes where characters can be swapped in depending on circumstances or deaths is a deal breaker, then maybe this isn’t for you. I like to think that the extremely positive responses to my characters speak for themselves, but everyone is different and your mileage may vary. Your call. Cheers.
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I did 
There are! That’s why I played the 2nd book, I really liked the characters and wanted to spend more time with them. the dialogue recycling was not the only thing that made me decide to opt out of this game, but it was one of them. this is not hate to you, i am just a singular person and my opinion about sections of recycled dialogue does not really matter, as you said you already have extremely positive responses to your characters cheers
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No worries at all, I don’t feel like you were hating or anything.
I value everyone’s opinions, which is why I spent so much time explaining my decisions and the particular circumstances where they were applied in the posts above. I think it’s more that I’m surprised when I see responses like this because using alternate speakers in certain situations depending on character deaths or circumstances isn’t really that unusual in this genre. (And for what it’s worth, it’s not copy/paste–it’s subbing in name and pronouns. The word count is not inflated.)
If anything, alternate speakers were used far less in book 3 than they were in book 2. And to reiterate something that I felt was important from above: The romance scenes are handcrafted aside from some common lines delivered during pillow talk in chapter 8 which were necessary for the story. The vast, vast majority of dialog in this game is unique to the character speaking.
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I haven’t seen complaints that any of the recycled dialogue was actually out of character for any of the characters who may speak it, so the problem seems to be that it’s immersion-breaking to have a character repeat verbatim something that was spoken by another character in a different playthrough. My suggestion to those who are bothered by this is to space out your playthroughs a little more.
Part of the art of interactive fiction, especially at this level, is to make something look seamless that’s actually pieced together from more small parts than a patchwork quilt. Repeated playthroughs in short succession make it a lot harder not to see the seams.
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Nods
This can be said of virtually any piece of interactive fiction. I’ve played dozens of these games multiple times and seeing common text used in multiple circumstances is an absolute universal and the nature of the beast. It’s literally how these things are made.
It becomes even more difficult as a series goes on because the number of variables such as character deaths grows massively and must be accounted for. Some dialog needs to happen, and if the character who would usually deliver it is dead, or indisposed, wounded, whatever, someone has to say the line.
The alternative to that is to just never allow any character to die or be in a different place. I think that would be boring.
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Of course, I understand the reasons behind it, but again, in my opinion, interactive literature should be, well, … - interactive! Each path a reader chooses should differ significantly from the others. I’m not specifically talking about your books here but about interactive projects in general—just sharing my thoughts.
When writing a traditional book, the author has only one path to follow: forward. There’s no need to worry about parallel storylines, rewriting the same scene with different characters and accounting for how they’d react to their surroundings based on their personalities. There’s no need to consider multiple endings or their consequences.
As I mentioned earlier, putting yourself in the reader’s shoes, when someone picks up an interactive book/game/VN, they’re prepared to spend hours exploring all the possible variations. But when they begin encountering repeated text, their interest starts to wane with each reread. They realize, that they may not get anything out of the repeated reading. Especially if it is for a large volume book or a series of books. Where the effort of rereading or skipping already-seen content to find a “hidden gem” can feel like too much. And that’s not even mentioning when beloved characters start speaking and acting the same in certain moments.
In my view, interactive literature is a unique kind of challenge—a test of whether the writer can truly handle the complexity. That’s what makes it so much harder to write compared to a traditional book.
Of course, I’m no expert, and having written a few questionable fanfictions doesn’t make me a writer. But as I said, these are just my thoughts out loud.
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B3 Intro issue
I was holding Bly and with Bly. I don’t recall being pulled away. She was holding me when called. No idea where Tiva was, but Bly ‘was out on patrol, and saw someone brought in’ doesn’t match up. Unless time skipped and wasn’t mentioned? Ahote called me in what appeared to be, while held by Bly. I can go back and restart to see if I missed something?
Yep, B2 ending I was held by Bly when Ahote called me and Tiva.
The intro of B3 is little contradictory to end B2 with Bly.
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This is getting tiresome. I’ve gone above and beyond explaining this process to you. The vast, VAST majority of the book is unique depending on choices. The VAST majority of character dialog is unique to the speaking character. There is no piece of interactive fiction where you won’t find some text that pops up the same on repeated playthroughs. The techniques I used in this book, as others have noted, are basically universal to this genre.
Name a single CoG that doesn’t have many pages of text repeated from playthrough to playthrough. Name one. I’ll wait.
All CoGs follow a story. They ALL repeat text on subsequent playthroughs. Some of them do it a LOT more than mine, where you only see around 20% of the text on any given playthrough. If anything, my games are significantly more branchy than the average CoG.
Read the above again, Nirbak.
And look… I’m happy to receive criticism.
You said how you felt about some portions of dialog and I spent over an hour explaining the process at length, including acknowledging the portions where I could have done better (specifically the Kotori sex scene.) Most authors would have either ignored your comment or given it a cursory handwave. I engaged in good faith and gave you a look at the process and reasoning behind the structure.
You reported a bug. I immediately acknowledged it, thanked you for the report, and sent in a fix, all on the same day.
I’m open to criticism. What I don’t like is repeated posts bringing up criticisms that have already been addressed at length, especially when I feel that they are wildly misrepresentative of my game or the genre as a whole. If it bothers you that much, then maybe the story isn’t for you. That’s okay.
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Fixed my post. The intro bit I left described needs relooked at. Basically Bly was in two places at my start.
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I’m trying very hard to figure out what you’re saying in the earlier post, but I’m having a difficult time with it, sorry. I’m doing my best to understand.
Which Werewolves 2 ending did you get? The one where you were in the warehouse with the elders? The more info I have, the easier it will be for me to help.
I’ll look at the book 2 code when I get a chance and see if I can figure out what’s up.
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At end of Book 2. I was hugging and kissing Bly. Making things good?! Then Ahote calls “MC and Tiva!” From their place in warehouse. It is revealed whom was dragged back.
B3 intro, i am with Tiva and Ahote. Bly came running in from patrolling and saw someone brought in by Ahote outside.
Conflicts with B2 ending of mine. As she was inside with me just as called in. Change Tiva to Bly and have Tiva rushing inside makes more sense in timing. If in arms with Bly at moment of called in.
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Ahhh, now I understand!
You have a Bly relationship and it created a location error between books. I’ll fix that right away. Thank you for the report! 
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